Moving into the 20th century, we have an excellent new version of Prokofiev’s The Gambler that unerringly captures the conflicting personal and social forces that shove the plot along. Kristine Opolais and Misha Didyk are magnificent as the young lovers caught up in this Dostoevskian web of psychological self-destruction, erotic brutality, and financial panic. And if Barenboim’s accompaniment is sometimes on the thick side, the overall effect is so riveting that it’s hard to complain.
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